|
Review of It's For Your Own Good by Matt Attlee.Melbourne 3 piece pop-punk group, The Living End, have come a long way this year and their new EP It's For Your Own Good is the final product from this fruitful year. Punk they may be but not just any punk, no they have gone against the grain of the usual melodic skate punk and revived the English root's of punk by incorporating a double-bass in the band rather than a electric bass guitar. The new EP doesn't limit its self to the normal punk formula, the opening track 'From Here On In' is your basic punk song but 'English Army' paves the way the for the double bass and the English roots along with 'Problem' and 'Stay Away From Me'. 'One More Cell' and '10:15 Saturday Night', a cover of a Cure song, shows us the lighter tempoed side of the band taking you further back to the double bass vien of rockabilly that starts to grow on you.
I really enjoyed this release and found it a great alternative to all the melodic punk I listen to, so in
my words "Buy it!".
Review of Second Solution/Prisoner of Society by Ross Clelland for The Drum Media.The Melbourne rockabilly thing gets out their old Clash records and present (god help us) the concept EP. Music thumps along mightily on the theme of jail and those therein, whether literally, like the death row inmate of the lead track, or more broadly as in Prisoner of Society, which has this great shout along chorus in the middle eminently suitable for chanting along by a large number of blokes, probably shirtless, down the front. And then the true classic centrepiece of the whole event has them having a lash at the theme from Prisoner, which possibly should get them a lengthy sentence. Freak, the gloves please. |
||||||
|
Review of Second Solution/Prisoner of Society by Matt Attlee.The Living End have been going well of late and I am sure this new EP is part of their success. Revolving around a "prisoner" theme it opens with a reggae feel as we see a return to the rockabilly roots. The second track Prisoner of Society, receiving the airplay, contains all the ingredients of their last hit with its fast tempo on a strong rockabilly base. Definitely this year's anthem for teenage rebellion with the line "You'll see I'm not the enemy, just a prisoner of society". To continue the concept they had to cover Prisoner On The Inside, the theme music to Prisoner, giving it a dash of country. Then as a special treat they include two tracks from their first CD recorded live at JJJ. Overall a good EP though possibly a bit too brief. Article from Drum Media on the 11th of February, 1997 by Mark Fraser.It must have been about early to mid last year that i came across a nifty little mini-album from a bunch of fringe dwellers from down Melbourne way. The band was of course The Living End, and the album, Hellbound ran from Brylcream cranked end of the scale through some quiff-curdling classic popabilly, some jangly sweet bobby-sox cuteness and on to straight-edged full-certified V8 primal rock...double bass style. In the interim, they've gone on to support the likes of Green Day and Soundgarden to name but a few, and on the way, honed their no-holds barred edgey sound to a fine nylon comb. Straight rockabilly they ain't, but the flavour is still evident in The Living End sound. More recently they released a six-track EP on the Rapido label (home to the mighty Fireballs) through MDS. The opener From Here On In has been getting a fair airing on the Jays, and after hearing the rest of its varnish-peeling offerings, it probably won't be long before they follow suit. From the pyschobilly crazed edge of the opener, it's straight into the thumping roadhouse guitarnage and military incision of English Army, the precision dinge of One More Cell, the rabid, semi ska-tinged onslaught of Stay Away From Me, the runaway winged cadillac that is Problem and onto the final surprise ode of the diabolically disarming, railroad rendition of The Cure's 10:15 Saturday Night. In all a ripper of a follow up that's head over heals ahead in the production stakes. I caught up with the End-ish lads soon after their Soundgarden support and they seemed like a happy bunch in light of the air-time attention that From Here On In has been receiving. "Triple J had it on high rotation," explains guitarist, vocalist and chief songwriter Chris Cheney. "It's still being played now, it's been a month now that they've been playing it. They've been playing that to death, and we've sold quite a few copies which is good." After doing a bit of touring for the current EP there is the likelihood of an album in the offing around mid year or so. Meanwhile it's virtually the weekly grind in home-town Melbourne, where the band manages to pull plenty of live work. The ensuing tour will see them take in Sydney, Newcastle, Coffs Harbour, Brisbane and Noosa...."We'll be spending a lot of time in the van I think," says Chris. And how is the rockabilly scene in Melbourne at the moment? "Ah, not real strong," laments Chris. "There's a couple of bands playing now and then, but it's pretty much finished I think. We've got a pretty diverse crowd though, not just a rockabilly crowd... we've never wanted to appeal to just that audience. We've always wanted to appeal to a wider audience, which is sort of happening now. It's a shame there's not more of a rockabilly scene happening but..." Gig with Supersuckers, Fireballs.Knew bugger all about the Living End until they came on but now I know they are one fine outfit. Kinda boogie, kinda punk, kinda something. Their cover of 10:15 Saturday Night gave a bit more of a perspective of these blokes, but not much - they're right out of left field. It's For Your Own GoodFollowing the release earlier this year of their debut CD EP, Melbourne trio The Living End have moved away from relatively straightforward rockabilly punch with this tasty little six track EP. Although doffing collective caps to influences such as the Clash, Stray Cats and even a quick check to Duanne Eddy (check the glorious guitar solo on Problem). The Living End are beginning to define themselves by their own sound. A feisty mix of tunes means it's difficult to pin these guys down, which is never a bad thing. They are becoming conversant with melody within grunt, and plaintive qualities seeping through punchy rythms, particulary on One More Cell, which is a pop/punk tune dependent on its neatly pumped out chord progression and cheesy chorus for effect. From Here On In and Stay Away From Me reflect the rockabilly aspect of The Living End, with the latter jumping straight into a thrash out with gorgeous accents and atypical bassline.
Bass player Scott
Owen and singer/guitarist Chris Cheney belt out vocals with more enthusiasm than
finesse, but this works within the context of the songs. English army is a little
too obvious in its debt to the Clash, however the Living End have stamped their
mark on the groove if not the melody. Closing with an inventive cover of the Cure's
10:15 Saturday Night, It's For Your Own Good is an immediately infectious slice of
this band's energetic approach to a musical meld that can only be described as a
rockabilly/ska cross, however they aren't afraid to throw in a touch of the pop
hook, but nevertheless harness power from the urgency of rockabilly more than
anything else. Good stuff for a bit of a dance, if your that way inclined.
It's For Your Own GoodThe Living End have come a long way on their second EP. Where their first release Hellbound lost song quality in sub-standard production, It's For Your Own Good, produced by Lindsay Gravina, packs brutally honest representation of their live sound - and this sound is most impressive. From Here On In and English Army lead the EP admirably. The songs are more well crafted pop than rockabilly, and both tunes come with a chorus you won't forget in a hurry. Look out for other highlights; see Stay Away From Me complete with its breakneck drumming and minor bass solo, and Problem, that has a booming chorus showcasing Chris Cheney's distinctive vocal style.
This EP also comes with a fairly honest take on the Cure's 10:15 Saturday
Night, although this reviewer would have preferred to have seen live favourite
Tainted Love make an appearance. To label the Living End as a rockabilly band is
lazy and/or uninformed. They have the potential to reach an incredibly wide audience,
and on listening to It's For Your Own Good one gets the feeling that one day Cheney
and co. will be scaling even greater heights.
Gig at Esplanade HotelLast Friday night at the Esplanade saw the launch of the new Living End EP, It's For Your Own Good. I expected a big crowd, and wasn't disappointed. By the time the Living End came on the place was heaving. The Living End launched into their set with unbridled energy and enthusiasm, and within minutes were sweating buckets. The drumming was short sharp and in bursts, in the style of Keith Moon (before his bloated, dead in bed phase), and seeing the double bass in action mae you realise that, visually, the more conventional bass has nothing on its older brother. As on the EP, the band mixed up punk and ska influences with a predominately rockabilly background, creating what is, in my mind, a pretty unique sound. The crowd was big and responded well to the effort the band were obviously putting into the set. It was interesting as well, to see the mixing of subcultures evident. There were punks, goths, rockabilly fans, indie kids, ska freaks, all getting into the music. The Living End are obviously a band that have a wide apeal, and it is good to see. Zoom - with Even, the FauvesThe Living End were playing whilst I entered the hall, amidst the young children and teenagers. I was taken back by the freshness of the crowd, feeling quite chronolgically advantaged. The Living End, a psychobilly trio with gravity defying hairdos, belted out tunes suchas Strange and also 10:15 Saturday Night, a Cure cover, amongst other crowd favurites. Once the band left the stage, masses of excited teenagers flocked to the side of the stage to speak to the lead singer and get all matter of clothing and paraphenalia autographed. It's For Your Own GoodThis has been a frantic year for this three piece punk outfit from Melbourne. It released it's first EP, Hellbound, at the start of the year and then earned the support slot for green haired trendsetters Greenday. So it is no surprise that this CD's first track, From Here On In, has a distinct similarity to the American band. But that is where all similarities end. On this second EP, English Army, One More Cell, Stay Away From Me, Problem and 10:15 Saturday Night set themselves apart with the sound embracing all that is punk. Ska and rockabilly are interspersed through the songs which set the head rocking and the feet stomping. The guitars have a harsh resonating sound and Chris Cheney's vocals are brilliant.
Perhaps Green Day's Billy Joe Armstrong could listen and learn. This album is true
punkerama.
HellboundPunkish rockabilly trio the Living End draw from the look and sound of fifties rockers the likes of Gene Vincent and Eddie Cochran, and more recent revivalists the Stray Cats. They add to this a hefty shot of punk and end with nenergetic, firey, aggressive, pounding sound wiht loads of charm. The eight track mini-album, Hellbound is a beauty, packed with gems like the frenzied opener Trace of Doubt, the surf guitar of the title track, the snotty punk rock of the Living End and the rockabilly shuffle of Strange. Tabletop Show is a gritty plodder with great harmonies, Headlines and Mispent Youth are powerful slices of punk, and the closing tune So Lonely is a fun, boppy rock n' roller. The Living End are the sort of band that keeps rock n' roll fresh, regardless of their derivative nature. It's the energy and enthusiasm that gets you in, as well as the beat of the drums and the slappin' double bass, the great guitar work and the strong songs. Brilliant! HellboundThese Melbourne punks are bound for success, having landed the support slots on tours by Greenday and the Reverand Horton Heat. On their nine track debut, they sing: "I never thought that I was strange." But with the Stray Cats influenced punkabilly, they are - even thought their punk is accessible. The title of one track, Mispent Youth, shows that they didn't spend their young years learning how to spell, but they did learn how to pplay a mean brand of rock. This is an excellent debut. 3/5 |